daisyrust | about | phd proposal | shadows and surfaces: phd update 2009-2010

Expressivity and the Digital Puppet:
Mechanical, Digital and Virtual Objects
in Games, Art and Performance


Fettig Simulation Physics Shadow Test 002 Shadow Engine001 Kara iPad Touch Photo Shadow Engine001 Lotte Figure

(a) Fettig figure physics simulation, (b)(c) ShadowEngine v001 with multitouch, (d) Multi-jointed physics based animation

Researcher

The aims of the investigation

The current PhD study explores the interface between traditional puppetry and emerging computer technologies, through historical, theoretical enquiry, case studies and practical experiments. The thesis will evaluate and test with users (puppeteers, audiences, animators and programmers) the expressive qualities of innovative interactive systems.

In this context 'innovative' means both emerging, new, technology or established technologies that are being re-defined by their communities of use and are finding new applications within the performing arts, particularly puppetry performance.

  1. I aim to explore the related contexts of digital puppetry, real-time animation, mimetic and non-mimetic kinetic objects, automata, 'cybernetic sculpture', performance systems and the technological interfaces to such phenomena.
  2. I aim to create evaluate and create puppet/object theatre performances/installations that use original software and hardware systems that are designed to explore 'performance expressivity', with reference to relevant historical, art, entertainment and technological precedents.
  3. I wish to theorise and form a taxonomy of 'expressivity' in relationship to digital domains and puppetry. By 'expressivity', I refer to different domains of action including: voice, face, body, hands and gesture.

Scope and focus: finding patterns in an interdisciplinary study

The scope may first appear broad and the research focus wide. However, the researcher agrees with the statement:

"a cross-disciplinary approach yields information about patterning that is not visible from any single discipline." (Dorosh, 2008, 14, my emphasis)

Initially the surveyed areas and practice are diverse. The research progresses with the solid intent to articulate the patterns between (and the inter-relatedness of) cultural forms, and control systems, across computer media and performance art disciplines. In forming a taxonomy of 'expressivity' in relationship to digital control-systems and puppetry, a broad range of phenomena will need to be studied.

Focus is to be achieved through the practical work and case studies detailed in the 'Proposed Plan of Research', below.

Details of the proposed research in lay terms

Many innovations in contemporary computing and the way we interact with machines have applications beyond the domains for which they are designed.

Computer vision for gesture recognition, touch surfaces (like the Apple's iPhone, Microsoft's Surface and TUIO systems), wireless control devices, accelerometers and game control devices, like data gloves, can be used beyond their originally designed purpose. Increasingly these technologies and the means to programme them are finding their way into the hands of non-specialists and are crossing boundaries of practice. The present study works in an interdisciplinary way between human-computer interaction/interface design, computer programming and the performance practice of puppetry, evaluating the reciprocal opportunity for innovative practice.

In my practice and research, I aim to create low-cost hardware and software that allows a skilled and unskilled puppeteers to control dynamic physical objects (like a robot) or a virtual object (like a game character) in ways that calibrate and test new interfaces for their expressive potential. Coming from a background in puppetry, where a special approach to gesture, movement and mechanism applies, I wish to find a playful fusion between emerging technology and performance traditions.

The established puppetry traditions, as categorised by control mechanisms and form: rods, shadows and glove, (one may add the direct manipulation of objects and the related area of toys and automata), have fascinating parallels with moving objects in the virtual worlds of interactive art and games. The thesis will clearly establish and test the boundaries of these parallel forms.

Jointed Karagiozis Shadow Puppet - Render (Not Real Time)
Illustration: Jointed Karagiozis Shadow Puppet

Proposed plan of work, including its relationship to previous work

The proposed study is interdisciplinary and seeks to establish patterns between diverse cultural forms and technological practices. The focus for the study is created by analysing specific case studies in practice that involve tactile and gestural interaction with interfaces for expression and improvisation.

The current work has a practical, experimental and media archeological approach that seeks to explores the interface between traditional puppetry and emerging computer technologies, through historical, theoretical enquiry, case studies and practical experiments. The thesis will evaluate and test with users (puppeteers, audiences, animators and programmers) the expressive qualities of innovative interactive systems.

Although the area seems broad (for example, puppetry is a large subject within performance studies, has numerous world traditions and a long history), I find focus through particular practical case studies where I design and test interfaces for expression and improvisation centered around gestural interaction, touch, optical and physical capture of motion.

Puppetry has distinct practices in various world traditions, but in computer space can be defined as the expressive use of interfaces to control objects. It is necessary, for the thesis, to offer an extended definition of 'object', which becomes interesting in computational contexts as does 'expressive behavior' and 'affect'.

In exploration of practices akin to puppetry, the research draws on instances of performance, games and installation art practice in wider cultural practice and the practical explorations of the author. This focus is multi-disciplinary.

The case studies are focused in the following ways:

(1) Physical interfaces to on-screen (or virtual) performing and expressive objects and (2) Physical control of physical performing and expressive objects. I foresee multiple interfaces and approaches to objects will be designed, tested and used and may be shared and adapted between case studies.

Research Questions

Through practical, theoretical and historical research I wish to explore and answer the following research questions:

Primary Question: What is 'expressivity' in the context of computer controlled and user controlled physical and virtual objects?

Three main overarching questions

  1. How do new and emerging technologies facilitate innovative techniques of design and control of puppet-like objects?
  2. What are the most effective designs for interactive tools to create and sustain experiences of expressive play?
  3. How do the domains of traditional puppetry and emerging interactive technologies relate?

Sub-Questions: Definitions and Detail

The following questions further refine and dimensionalise the key research questions.

  1. What defines a digital puppet?
  2. What defines a virtual puppet?
  3. Can we describe the distinctions between virtual and physical kinetic expressive systems?
  4. What is the difference between an automata and a puppet in the context of virtual creatures, animatronics (performance robotics) and artificial-life?
  5. How do current performance technologies facilitate expression?
  6. What is 'expressivity' in the context of computer controlled objects?
  7. What happens to 'expressive acts' when mediated through interactive technology? Eg.
  8. What are the qualitative distinctions between live and captured movement?
  9. How can we use movement capture as an analytic tool within puppetry studies?
  10. How can we use movement capture as a tool for play within puppet performance?
  11. What are the most effective methodologies for studying interdisciplinary puppetry practice?
  12. To what extent is it useful to compare diverse virtual and physical kinetic forms as forms of digital puppetry?

New Interfaces for Expression

What are the most effective interactive interfaces to capture the expressive acts of puppeteers?

How do we best describe the 'expressive potential' of custom interfaces for puppetry?

What are the perceptions of traditional puppeteers towards new technology and new interfaces for expression?

Methods and Methodologies – A Media Archeology of Kinetic Behavioural Sculpture

The writing seeks to historicise in and around the spaces occupied by digital (or virtual) puppets, the avatar, automata, the robot, artificial life, and the animatronic. All these phenomena can be grouped, as by Reas (1996), in the realm of 'kinetic behavioural sculpture':

"A behavioral kinetic object is a dynamic system, meaning it changes with time. This system is composed of a source of energy, inputs, outputs, and a control architecture which converts the information from the inputs into information which stimulates the outputs. These elements sum to form the complete object, but other elements may be added to provide mass or form." (Reas 1996, 22)

An emerging methodological approach called media archeology, will be used to trace how traditional puppetry forms, often described by their mode of interaction/media, (rods, shadows, strings and gloves) - map into current paradigms of interaction with virtual worlds, digital objects, games, and automated animation; and associated areas of digitally enhanced dolls, toys and automata. Media Archeology is a field that reflects on today's technologies by linking them to the socio-technical histories out of which they emerged.

"There is a gang of artists, theoreticians, and artist-theoreticians who have a very strong affinity (moreover, one that links them to a figure such as Artaud): they burn and burn up in the endeavour to push out as far as possible the limits of what language and machines, as the primary instances of structure and order for the last few centuries, are able to express and in doing so to actually reveal these limits" (Siegfried Zielinski, 2009, my emphasis)

Ethnographic Methods - Thick Description of Performance and User Testing

My experience in ethnographic methodology also assists to bring the study within a particular social, cultural way of seeing. How to systematically observe and perform thick description (Geertz, 1977) of contexts such as software design and study is relatively unique, but common in anthropology when interpreting performance culture and forms, such as puppetry.

Media archeology, in the way documents and artefacts are studied has an affinity with historical ethnography. The moment of study is past as well as present. I will apply ethnographic methods of theme analysis - observation, thick description, coding and dimensionalising - to support a broader semiotic approach to the cultures and histories of digital puppetry.

"The concept of culture I espouse…is essentially a semiotic one. Believing with Max Weber, that a man [sic] is an animal suspended in webs of significance he himself has spun. I take culture to be those webs, and the analysis of it to be therefore not an experimental science in search of law but an interpretive one in search of meaning." (Geertz, 1977, 5)

Sherry Turkle (2005) has developed an approach to understand how we think and express through evocative objects. I argue digital puppets are a special class of evocative object. In addition to Turkle, I will consider multiple approaches to theorising the object in cultural practice: again this is drawn from a variety of domains (e.g. John Dewey's expressive object in Art as Experience (Dewey, 2005) to Baudrillard's complex system of objects (Baudrillard, 1988). I have started this work in relation to automata and talking toys (see the published works).

Puppetry, Kinetic Sculpture and Gestural Interaction

All styles of puppet manipulation rely on gestural interaction. The study considers the performative/expressive potential of numerous computer interaction systems that utilise tactility and touch, whole-body, face, hand interactions. In a cultural study of expressive automata and toys, the study considers the role of the sonic in puppetry: the rhythmic gesture, sound and voice.

I wish to explore the following question: How do new and emerging technologies facilitate innovative techniques of design and control over puppet-like objects and create experiences of expressive play?

Here is another way to state the primary exploration of the thesis: How does the human body in improvised movement and the computational capture of such movement (or performance animation) make meaning through expressive acts mediated by digital puppets and other evocative objects.

"The world of objects and needs would thus be a world of general hysteria. Just as the organs and functions of a body in hysterical conversion become a gigantic paradigm which the symptom replaces and refers to, in consumption objects become a vast paradigm designating another language through which something else speaks," (Baudrillard:1988, 10-29)

Plan of Literature Review, Research, Practical Work and Writing

Below (FIG: GANTT), I supply a static image of a dynamic Gantt chart detailing an approximate time-plan of how the practical work relates to the evaluation of literary research material and writing activity.

The GANNT chart is a snapshot produced by an interactive project management tool, OmniPlan, and is dynamic. It changes as research, practice and writing activities develop. A current (updated June 2010), zoomable, snapshot can be found here:

Link: http://daisyrust.com/phd/phd_progress_AY0911/dissertation%20planGantt.html

Establishing Cultural Patterns through Practice

I will produce and evaluate:

  1. Performance, Artwork and Kinetic Behavioural Sculpture;
  2. Original software, software art and computer based creative production techniques;
  3. Innovative control systems and interfaces that will be applicable hopefully beyond the domain of performance;
  4. Papers, videos, websites and published outcomes that will contribute to the thesis, documentation and other elements of the research.

As a minimum, I plan to make and test:

  1. Several expressive, physical objects;
  2. Several virtual objects, that are controlled by
  3. Several innovative control systems, in prototype, including touch surfaces, optical motion/expression/gesture capture, digital input devices.

It will be ideal if the systems are tested in performance or in installation contexts. Standard HCI user testing methods, including focus groups, cognitive walkthroughs, Goals, Operators, Methods, and Selection Rules (GOMS) analysis, will be employed, evaluated and discussed where relevant.

Relationship to Previous Work: Comparative Case Studies of Practice

The thesis will analyse case study material, including software and performances by the author, other artists, puppeteers, animators and sculptors. Case studies include:

ShadowEngine icon
Figure 1: Theo Jansen' Strandbeest As Physical, Virtual and Textual (Code) Object - A Box2D Simulation of a Theo Jansen Strandbeest

ShadowEngine icon
Figure 2: A Box2D Simulation of a RagDoll

Golan Levin's Interstitial Fragment Processor (2007).
Figure 3: Golan Levin's Interstitial Fragment Processor (2007).

Figure 4: Phil Worthington "Shadow Monsters" (2006).
Figure 4: Phil Worthington "Shadow Monsters" (2006).

Figure 5: Myron Krueger "Video Place" (1974).
Figure 5: Myron Krueger "Video Place" (1974).

Figure 6: Matreyek, Miwa. "Dreaming of Lucid Living" (2009).
Figure 6: Matreyek, Miwa. "Dreaming of Lucid Living" (2009).

Examples of how these areas map with my own work can be see in Ian Grant "Video Hybrids, explorations in digital puppetry", presented as a performance piece, software and documentary write up (see sample chapter elsewhere on this site).

Dissertation Writing Practice

The thesis type-setting is automated using a LATEX template (created by the author using UEL standards) and a BIBTEX database.

Document References

Baudrillard, Jean and Mark. Poster. Selected writings (of) Jean Baudrillard. Stanford University Press, Stanford (Calif.), 1988.

Dewey, John. Art as Experience. Perigee Trade, 2005.

Dorosh, D. Patterning: The Informatics of Art and Fashion. PhD Thesis. UEL. Awarded in June 2008.

Geertz, Clifford.The Interpretation of Cultures. Basic Books, NY. 1977.

Jansen, Theo. The Great Pretender. 010 Uitgeverij, 2007.

Levin, Golan. Projects. http://www.flong.com/projects/ Date modified: 2009. Date Accessed: 1st June 2009.

Reas, Casey. Behavioral kinetic sculpture. Master's thesis, MIT, 1996.

Turkle, Sherry. Computer Games As Evocative Objects: From Projective Screens. To Relational Artifacts in Raessens, Joost and Jeffrey Goldstein "Handbook of Computer Game Studies" MIT Press, London, 2005.

Zielinski, Siegfried. Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. MIT Press, 2008.

Zielinski, Siegfried. Media Archaeology. http://www.ctheory.net/articles.aspx?id=42#text%201 Date modified: 7th Nov, 1996. Date Accessed: 1st June 2009.

Example Writing

For an extended abstract and sample writing, please see the sample chapters supplied for annual review AY08-09.

Current Research Bibliography

The current bibliographic database (BIBTEX) contains 180 references already considered in the literature review. For brevity, I only include references included in several important categories. An asterisk (*) indicates critical and key texts. There may be some repeated entries where items are cross-referenced. I (mostly) exclude instructional texts in computer technologies (e.g. software and programming text-books, e.g. iPhone programming, OpenGL Red Book, OpenCV, etc.).

Puppetry, theory, history, technology, digital puppetry;

  1. Bacon, M. No Strings Attached: Inside Story of Jim Henson's Creature Shop. Virgin Books, 1997.
  2. Baird, B. The Art of the Puppet. With illustrations. Ridge Press, Inc., 1965.
  3. Bar-Lev, A., Bruckstein, A. M., and Elber, G. Virtual marionettes: a system and paradigm for real-time 3d animation3d animation. The Visual Computer 21 (2005), 488-501.
  4. Baran, I., and Popović, J. Automatic rigging and animation of 3d characters. Proceedings of the 2007 SIGGRAPH conference 26 (2007).
  5. Barnes, C., Jacobs, D., Sanders, J., Goldman, D., Rusinkiewicz, S., Finkelstein, A., and Agrawala, M. Video puppetry: a performative interface for cutout animation. SIGGRAPH Asia ’08: SIGGRAPH Asia 2008 papers (Dec 2008).
  6. Baudelaire, C. The philosophy of toys. In Essays on Dolls, I. Parry, Ed. Syrens, London, 1994.
  7. * Bell, J. Strings, Hands, Shadows: A Modern Puppet History, illustrated edition ed. Wayne State University Press, 2000.
  8. * Bell, J., Ed. Puppets, Masks, and Performing Objects. MIT Press, Boston, 2001.
  9. Bicat, T. Puppets and Performing Objects: A Practical Guide. The Crowood Press Ltd, 2007.
  10. Blumenthal, E. Puppetry and Puppets: An Illustrated World Survey. Thames & Hudson, 2005.
  11. *Collective author. PUCK no. 9 :Images virtuelles Thematic review. Institut international de la Marionnette, CHARLEVILLE-MEZIERES, 1996.
  12. *Conner, S. Dumbstruck: A Cultural History of Ventriloquism. Oxford University Press, New York, 2000.
  13. Currell, D. Puppets and Puppet Theatre. The Crowood Press Ltd, 1999.
  14. Hall, V. Mike (the talking head). http://mambo.ucsc.edu/psl/mike.html, Date Created: nodate. Date Accessed: 01/02/2007.
  15. Jurkowski, H. Aspects of Puppet Theatre. Puppet Centre Trust, 1988.
  16. Jurkowski, H., and (Editor), P. F. A History of European Puppetry from Its Origins to the End of the 19th Century: Volume 1. Edwin Mellen Press Ltd, 1996.
  17. Jurkowski, H., and (Editor), P. F. A History of European Puppetry: The Twentieth Century. Volume 2. Edwin Mellen Press Ltd, 1998.
  18. *Kaplin, S. A puppet tree: A model for the field of puppet theatre. TDR (1988-) 43 (Oct 1999), 28-35. Puppets, Masks, and Performing Objects.
  19. Kaplin, S. A puppet tree - a model for the field of puppet theatre. In Puppets, Masks, and Performing Objects, J. Bell, Ed. MIT Press, Boston, 2001, pp. 18-25.
  20. *Knep, B., Hayes, C., Sayre, R., and Williams, T. Dinosaur input device. CHI '95: Proceedings of the SIGCHI conference on Human factors in computing systems (May 1995).
  21. *Lecoq, J. The Moving Body: Le Corps Poetique, revised edition ed. Methuen Drama, 2002.
  22. Mack, J. Masks: The Art of Expression, new edition ed. British Museum Press, 1996.
  23. Magnenat-Thalmann, N. The making of a film with synthetic actors. Leonardo. Supplemental Issue 1 (Jan 1988), 55-62. Electronic Art.
  24. Mazalek, A., and Nitsche, M. Tangible interfaces for real-time 3d virtual environments. ACE '07: Proceedings of the international conference on Advances in computer entertainment technology (Jun 2007).
  25. *Meschke, M., and Sörenson, M. In Search of Aesthetics for the Puppet Theatre. Indira Gandhi National Centre for the Arts, New Delhi, 1992.
  26. Ninomiya, D., Miyazaki, K., and Nakatsu, R. Networked virtual marionette theater. In Technologies for E-Learning and Digital Entertainment. Springer Berlin / Heidelberg, 2008.
  27. Obraztsov, S. My Profession. Fredonia Books, 2001.
  28. Parry, I. Essays on Dolls. Syrens, London, 1994.
  29. Rilke, R. M. Dolls: On the wax dolls of lotte pritzel. In Essays on Dolls, I. Parry, Ed. Syrens, London, 1994.
  30. Schönewolf, H. Play with Light and Shadow: Art and Techniques of Shadow Theatre. Littlehampton Book Services Ltd, 1969.
  31. *Segal, H. B. Pinocchio's Progeny : Puppets, Marionettes, Automatons and Robots in Modernist and Avant-Garde Drama. Johns Hopkins University Press, Baltimore, 1995. Normal Loan 791.53 SEG.
  32. Shi, X., Zhou, K., Tong, Y., Desbrun, M., Bao, H., and Guo, B. Mesh puppetry: cascading optimization of mesh deformation with inverse kinematics. International Conference on Computer Graphics and Interactive Techniques (2007).
  33. Silk, D. William the Wonder-Kid: Plays, Puppet Plays, and Theater Writings. Sheep Meadow Press, U.S., 1996.
  34. Tillis, S. Toward an Aesthetics of the Puppet: Puppetry as a theatrical art. Greenwood, New York, 1992. Normal Loan 791.53 TIL.
  35. *Tillis, S. The art of puppetry in the age of media production. In Puppets, Masks, and Performing Objects, J. Bell, Ed. MIT Press, Boston, 2001, pp. 172-183.

3D Graphics, Programming, Virtual and Augmented Reality

  1. * Fiala, S. C. M. Augmented Reality: A Practical Guide: The Complete Guide to Understanding and Using Augmented Reality Technology. Pragmatic Bookshelf, 2008.
  2. Gobbetti, E., Balaguer, J., and Thalmann, D. Vb2: an Architecture for Interaction in Synthetic Worlds. Proceedings of the 6th annual ACM symposium on User interface software and technology (1993), 167-178.
  3. Govindaraju, V., Djeu, P., Sankaralingam, K., Vernon, M., and Mark, W. Toward a Multicore Architecture for Real-Time Ray-Tracing. MICRO '08: Proceedings of the 2008 41st IEEE/ACM International Symposium on Microarchitecture (Nov 2008).
  4. Junker, G. Pro OGRE 3D Programming (Expert's Voice in Open Source). APress,US, 2006.
  5. * Mazalek, A., and Nitsche, M. Tangible interfaces for real-time 3d virtual environments. ACE '07: Proceedings of the international conference on Advances in computer entertainment technology (Jun 2007).
  6. Salti, S., Schreer, O., and Stefano, L. Real-time 3d arm pose estimation from monocular video for enhanced hci. VNBA '08: Proceeding of the 1st ACM workshop on Vision networks for behavior analysis (Oct 2008).
  7. * Zhai, S. Human Performance in Six Degree of Freedom Input Control. PhD thesis, University of Toronto, 1995.

Augmented Reality Techniques

  1. * Billinghurst, M., Kato, H., and Poupyrev, I. Tangible augmented reality. SIGGRAPH Asia '08: SIGGRAPH ASIA 2008 courses (Dec 2008).
  2. McQuiggan, S., Rowe, J., and Lester, J. The effects of empathetic virtual characters on presence in narrative-centered learning environments. CHI 2008, April 5-10 Papers (2008).
  3. Mistry, P., Maes, P., and Chang, L. Wuw - wear ur world: a wearable gestural interface. CHI EA '09: Proceedings of the 27th international conference extended abstracts on Human factors in computing systems (Apr 2009).
  4. Molyneaux, D., and Gellersen, H. Projected interfaces: enabling serendipitous interaction with smart tangible objects. TEI '09: Proceedings of the 3rd International Conference on Tangible and Embedded Interaction (Feb 2009).
  5. * Wang, R., and Popović, J. Real-Time Hand-Tracking with a Color Glove. SIGGRAPH '09: SIGGRAPH 2009 papers (July 2009).

Digital Art, Objects, Virtuality and Performance

  1. * Blundell, B. G. An Introduction to Computer Graphics and Creative 3-D Environments. Springer, 2008.
  2. * Candlin, F., and Guins, R. The Object Reader. Routledge, 2008.
  3. Candy, L., and Edmonds, E. Explorations in Art and Technology: Intersections and Correspondence. Springer, 2002.
  4. * Dixon, S. Digital Performance, annotated edition ed. The MIT Press, 2007.
  5. Ede, S. Art and Science. I B Tauris & Co Ltd, 2008.
  6. Gabor, D. Technological civilisation and man's future. In Cybernetics, art and ideas, J. Reichardt, Ed. Studio Vista, London, 1971, pp. 18-24.
  7. Grau, O. Virtual Art: From Illusion to Immersion (Leonardo Book S.), rev sub ed. The MIT Press, 2003.
  8. * Grau, O. MediaArtHistories. The MIT Press, 2007.
  9. * Jansen, T. Theo Jansen: The Great Pretender. 010 Uitgeverij, 2007.
  10. Mealing, S. Computers and Art, 2nd revised edition ed. Chicago University Press, 2008.
  11. Reichardt, J., Ed. Cybernetics, art and ideas. Studio Vista, London, 1971.

Computer Vision Techiques for Digital Puppetry

  1. * Barnes, C., Jacobs, D., Sanders, J., Goldman, D., Rusinkiewicz, S., Finkelstein, A., and Agrawala, M. Video puppetry: a performative interface for cutout animation. SIGGRAPH Asia '08: SIGGRAPH Asia 2008 papers (Dec 2008).
  2. Cabral, M., Morimoto, C., and Zuffo, M. On the Usability of Gesture Interfaces in Virtual Reality environments. CLIHC '05: Proceedings of the 2005 Latin American conference on Human-computer interaction (Oct 2005).
  3. Datcu, D., and Rothkrantz, L. Facial Expression Recognition in Still Pictures and Videos Using Active Appearance Models: a Comparison Approach. Proceedings of the 2007 international conference on Computer systems and technologies (2007).
  4. Salti, S., Schreer, O., and Stefano, L. Real-time 3d arm pose estimation from monocular video for enhanced hci. VNBA '08: Proceeding of the 1st ACM workshop on Vision networks for behavior analysis (Oct 2008).
  5. * Vlasic, D., Baran, I., Matusik, W., and Popović, J. Articulated mesh animation from multi-view silhouettes. SIGGRAPH '08: SIGGRAPH 2008 papers (Aug 2008).

Tangible Interaction and Embedded Control Technologies

  1. * Barnes, C., Jacobs, D., Sanders, J., Goldman, D., Rusinkiewicz, S., Finkelstein, A., and Agrawala, M. Video puppetry: a performative interface for cutout animation. SIGGRAPH Asia '08: SIGGRAPH Asia 2008 papers (Dec 2008).
  2. Billinghurst, M., Kato, H., and Poupyrev, I. Tangible augmented reality. SIGGRAPH Asia '08: SIGGRAPH ASIA 2008 courses (Dec 2008).
  3. Fishkin, K. A Taxonomy for and Analysis of Tangible Interfaces. Personal and Ubiquitous Computing 8 (2004), 347-358.
  4. * Guo, C., Young, J., and Sharlin, E. Touch and Toys: New Techniques for Interaction With a Remote Group of Robots. CHI '09: Proceedings of the 27th international conference on Human factors in computing systems (Apr 2009).
  5. Mazalek, A., and Nitsche, M. Tangible interfaces for real-time 3d virtual environments. ACE '07: Proceedings of the international conference on Advances in computer entertainment technology (Jun 2007).
  6. Mistry, P., Maes, P., and Chang, L. Wuw - wear ur world: a wearable gestural interface. CHI EA '09: Proceedings of the 27th international conference extended abstracts on Human factors in computing systems (Apr 2009).
  7. Molyneaux, D., and Gellersen, H. Projected interfaces: enabling serendipitous interaction with smart tangible objects. TEI '09: Proceedings of the 3rd International Conference on Tangible and Embedded Interaction (Feb 2009).
  8. Vertegaal, R., and Poupyrev, I. Eek! a mouse! organic user interfaces: tangible, transitive materials and programmable reality. CHI EA '09: Proceedings of the 27th international conference extended abstracts on Human factors in computing systems (Apr 2009).
  9. Weller, M., Do, E., and Gross, M. Posey: instrumenting a poseable hub and strut construction toy. TEI '08: Proceedings of the 2nd international conference on Tangible and embedded interaction (Feb 2008).
  10. Weller, M., Gross, M., and Do, E. Tangible sketching in 3d with posey. CHI EA '09: Proceedings of the 27th international conference extended abstracts on Human factors in computing systems (Apr 2009).
  11. Zaman, B., Abeele, V., Markopoulos, P., and Marshall, P. Tangibles for children,: the challenges. CHI EA '09: Proceedings of the 27th international conference extended abstracts on Human factors in computing systems (Apr 2009).

Tangible Interaction and Embedded Control Technologies (interactive toys)

  1. Newman, M. Interactive Barney: Good or evil? Conferees worry about where computerized 'character' toys are going next. http://www.post-gazette.com/businessnews/19990521barney1.asp, Date Modified: 21/05/1999. Date Accessed: 01/03/2007.
  2. Parent, A. Read Reviews of Hasbro Aloha Stitch Doll 3570 at eOpinions. http://www.epinions.com/content_163285929604?linkin_id=8003929, Date Created: 28/11/2004. Date Accessed: 01/02/2007.
  3. Shenk, D. Behold the Toys of Tomorrow (The Atlantic Online - Digital Culture). http://davidshenk.com/webimages/atlantic1.htm, Date Created: 07/01/1999. Date Accessed: 01/02/2007.
  4. Strommen, E. F. When the Interface is a Talking Dinosaur: Learning Across Media with ActiMates Barney. http://www.playfulefforts.com/archives/papers/CHI-1998.pdf, Online PDF of published work. Date Written: 1998. Date Accessed: 01/03/2007.
  5. Strommen, E. F. Learning from Television With Interactive Toy Characters As Viewing Companions. http://www.playfulefforts.com/archives/papers/SRCD-1999.pdf, Online PDF of published work. Date Written: 1999. Date Accessed: 01/03/2007.
  6. * Strommen, E. F. Interactive Toy Characters as Interfaces For Children. http://www.playfulefforts.com/archives/papers/IA-2000.pdf, Online PDF of published work. Date Written: 2000. Date Accessed: 01/03/2007.
  7. Strommen, E. F. Play? Learning? Both...or neither? http://www.playfulefforts.com/archives/papers/AERA-2004.pdf, Online PDF of unpublished work. Date Written: 2004. Date Accessed: 01/03/2007.

Methods (Cultural Studies, Performance Studies and Theatre Anthropology)

  1. * Candlin, F., and Guins, R. The Object Reader. Routledge, 2008.
  2. * Eugenio Barba, N. S. A Dictionary of Theatre Anthropology: The Secret Art of the Performer. Routledge, 1991.
  3. * Turkle, S. Evocative Objects: Things We Think with. The MIT Press, 2007.
  4. Zielinski, S. Media Archaeology, November 1996.
  5. * Zielinski, S. Deep Time of the Media: Toward an Archaeology of Hearing and Seeing by Technical Means. MIT Press, 2008.

Summary Of The Elements Of The Investigation That Are Novel, Original Or Creative And That May Constitute Production Of Original Knowledge Or An Original Interpretation Of Existing Knowledge

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